Harmonic chord scalk in five sharps



HAR MONXU CHORD SCALE 1N TB]! KEY 01* C GDEFGABGDEFGAB MENDON. L. m.

0h praise the Lord in that hle st place Fromwhencehis guo lness Luge 4 ly flows, Praise hiur fur all the might-y acts which is in our he-half hath done;

Praise him in heav'n, when be his face Unvaild in per feet gin -ry shows. His kindness this re-turn ex-ncts, With which our praisg' should a qua} r n- WW. ,1 omm- A N. PEiERs, FHOTO-LITHOGRAFHER, WASPHNGYON D c iii/mi XIARMONIC CHORD SCALE IN ONE HARP.

STIRLING. lull.

cume,luu l au-thems let us silfplmud thanks to our :11 -migh!y 0 let us to his emu-t5 rcpair, And how with a -do ru -tiun For we our voica: high'shoullnlse,\\'hnn our all W1 -tlons rock wo Down on your knus, u ont ly, a Do for: the Lord our Mn ker a6 Anya/2 1 NJCTERS, PHOTO-LITH'JGRAPHER, WASmNGTOM. D C.

r A286 i883 .MU/m: H a;

HARMONIC CHORD SCALE IN TWO SHARES DEXTER C. M.

0 Thou from all gc'md MOVIE, 1 How sweet the of 52- all: sounds In Inmy s01- :0ws,con -flicts,w0es, Dear Lord re luem her I! Bnuthes his 501 ruws,henls his Wou\\ds,And drives a way his N.PETEES, FHDTO-UTHDGRAPMER. WASHINGTON. DC

HARBKONHI CHBHD SCALE IN THREE SKARPS.

all creatures Irais: Gud,hom who]: I hleishxgs How, Prflse him i s m G Son and Ho'- '-ly Praise him a damn, ya heavn-lyA host Praise Fa Abe;-

N, PETERS. PHOTD-LH'HDGRAPHER. WASMNG'IYON, U

56; 5- 2M ill/mi HARMONIC CHORD SCALE IN FOUR SHARPS.

Life

is the time to serve the Lord, The time (in-sure the great re-ward'.

And wh'ne tho lamp holds out to burn, The

:1 -|est sin numly re turn.

MPETERS, PHQTD-LITMOGRAPHER. WASHKNGION. D C

, M/mi HARAIUNIC CHORD SCALE IN FHFE SHAHIS.

MARYLAND. L. M.

To Jo-sus, our -te:l Lord, Thy name In heavn mid Inn would our beans and voi-ces mm A c'heer-ful song. of s praise.

NFETERS. FHOTWUTHOGRAPHER, WASHINGTON, D. Cv

HAIIMONID CHORD SCALE IN ONE PLAT Uxiznlncn. ml.

The huvns de-clan thy glo -ry Lord;

In or ry But when an eyes lie-hold thy word We read thy name In fairer Ii es MPETEHS, FHOTOJJTHQGRAFHER. WASHINGTON. D C,

HARMONIC CHORD SCALE IN TWO FLATS.

FOREST. I|.M.

0 that my load of sin were gone, 0 th: I c uld at last sub-mi! At Je-Busfeet to lay it down: To lay my soul at NPETERS, PHOTD-LITHDGRAFHER, WASHiNGTO-N, D C

HARMONIC CHORD SCALE IN THREE FLATS.

ahum-1m TIMSBURY. h. M.

- ho -vah reigns, an-thpunui on jlgh; His robes are Hght and ma jes His 10 ry shines with beams so bright, tain the sight.

MFEIERS, PHOTO-LITHOGRAPHER wAsHlNGT cN. D 0.

# 55; m; 1%z iwfzmawt KARMONIC CHORD SGAL E IN FOUR FLATS,

FLUSHING. Cv M.

Sn! -va -tion, 9 the joy ful snundl. run-sic to our can;

'1 sav-re&gu. balm for evry Vwuund, cur-dial for ourfears.

N. PETERS, FHOIO-UTHOGRAFHER, wAsHiNGTOm D C.

pi ef /2 E6613. jM/mi HARMONIG CHQRD'SCALE [N FIVE FLATS DEVDliON. L. M.

V Show. pi -ty, Lord, Lord,[0r gin, not u re pent ing re be! live;

Are notr lhy mercies large and Tue? May not a sin ner trust in thee] NJEYERS. FHOTD-UTHOGRAFHER, WASmNGTONT 0 (1,

HARMONIC CHORD SCALE IN A MINOR nuwpolwqoa COLESHILD. 64M.

, And hum My own to then;

What fly lug worms are :gnitrb giants. igatmt @ft'irr.

J. C. CLIME, O F PHILADELPHIA, PENNSYLVANIA. Letters Patent No. 69,179, dated September 24, 1867; rmtedaterl September 11, 1867.

MODE 0]? TEACHING MUSIC.

digs Stimuli numb in in tips: fitters figment mu mating n at tip some.

TO ALL WHOM IT MAY CONCERN:

Be it known that I, J. C. CLIME, of Philadelphia, Pennsylvania, have invented certain Diagrams for Use in Teaching Music; and I do hereby declare the following to he a. full, clear, and exact description of the same, reference being bad to the accompanying drawing, and to the letters of reference marked thereon.

My invention consists of certain diagrams, constructed, as fully described hereafter, so that the sounds which combine to form cords in different musical keys may be quickly ascertained, and so that the keys of a. piano or other similar instrument which should be struck to produce such sounds maybe plainly indicated to the pupil.

In order to enable others skilled in art to make and use my invention. I will now proceed to describe the manner of carrying the same into effect.

On reference to the twelve accompanying diagrams, which form a part of this specification, it will be seen that each diagram consists of two portions, one portion, A, representing the key-hoard of a piano, or other similar instrument, and the other portion, 13, consisting of a series oi lines, :0 1 so arranged that there shall be eight spaces 8 5- above each key represented in the key-board. The name of the note produced bystriking each key of the key-board, and also the syllable and letter indicating this note, are marked on the key, and in those keys where a note is raised or lowered halt" a tone this change is indicated by the signgor being marked on the key to be sounded, as shown in diagrams 2, 9, and others. The spaces between the lines 3/ 3/ are numbered from 1 to 8 at the side of the portion B of each diagram, and in each space 1, 2,3, etc., are a number of letters or signs, which indicate that all the keys represented in the key-board opposite the signs in any one space can be struck at one time, and that a harmonious sound or cord will thus be produced, the letter or sign in each space indicating the name or syllable of the note produced by striking the key opposite said sign. The student, before the diagrams are placed in his hands, is thoroughly instructed as to the names of the notes and the anner of producing them by the instrument. When it is desired to teach the student the chords which can be produced in a certain key, as, for instance, the natural key, or key of C, his attention is directed to the diagram 1. In the first space (between -the lines 3 3 he will find that the letters C G E G are represented above the keys which produce these notes, G GE 5). He is thus informed that these keys, struck together, will produce a chord or combination of notes which will be in harmony with each other. In the second space the letters are so placed as to indicate thatthc keys producing the notes G D l Gshould be struck simultaneously to produce the second chord in this key; the third chord consisting of the combination of the notes E C G C represented in the third space, and so on, the eighth chord being merely a repetition of the first, an octavc'highcr in the scale. When the learner desires to familiarize himself with the chords which can be formed in another key, as, for instance, in the key of-B, he turns to the diagram (3, where it is apparent that the first chord in this key consists of the combination of the notes B D: F1, and B, the second of the notes 0:. A: F3, and so on. In like manner the chords which can be produced in other keys, in which either sharps or flats occur, are indicated in the different diagrams, as will be readily understood from the foregoing explanation. lhe student, when he has one note of a chord, can thus ascertain what other notes should be combined with it to complete thechord; for instance, it he wishes to complete a chord containing the note B, in the kcyot' E, (diagram 5,) he finds, on examining the diagram, that above the kc; representing the note It three of thc spa-cos contain the s' xor letter designating this note, and thus asccrtains that there are three chords in the scale, each containing this note, the .rst being the chord E B G; E, the second BF; 3 l3, and the third E G: E B. If the note C3 is taken, but one chord A A E, containing the note, can he produced in this scale. By the use of these ns also the position in the di. erent scales of the semi-tones or half intervals (which occur in every key between the third and fourth and seventh and eighth notes) is indicated much more plainly than when represented in the ordinary manner. In the key of C tlieju i-position of the keys E and F and I3 and C indicates that there is but half an interval between the notes produced by thesc keys. In the key of '3 (shown in diagram No. 2) it is apparent to the pupil that the first half interval, counting from the key-note G, s bet-ween the notes B and C, and the second between the notes I sharp, (E15,) and G, and he thus learns that it is necessary to sharp the note F, instead of using that note, because there should be a half interval between the seventh and eighth no and not between the sixth and seventh notes. In like manner he learns the reason for using 2 and F: in the key of I), diagram 3,

instead of the notes 0 and F, which would cause the formation of hslt'intervals at improper positions in the scale. lhe keys in which flats are used are indicated in a manner similar to the above described, as shown in diagrams Nos. 1 to 11, inclusive. The pupil is greatly aided by arranging the two portions A and B so as to form a diagram, in which it is clearly indicated what keys can be struck together to produce a harmonious sound, and also by placing only one of the signs i or? on such black keys as are to he struck, instead of using both signs on one key, as heretofore.

I claim as my invention, and desire to secure by Letters Patent 1. A diagram, consisting of the representation of e key-board and a series ct lines so arranged. as to form s aces opposite to the keys represented in the key-hoard, the said spaces containing signs or marks indicating the keys to be struck together, all substantially asand for the purpose described.

2. A diagram representing a key-beard, in which a mark or sign is placed on each black key to be struck, as set forth. I

In testimony whereof I have signed my name to this specification in the presence of two subscribing witnesses.

J. O. CLIME.

Witnesses:

CHAS. E. FOSTER, Joim WHITE. 7 

